Gods, heroes, monsters.
Every tie tells a story.

The data. Each figure has a tradition, a kind (deity, hero, sage, monster…), a role, a short description written for this atlas, emblem symbols, places and the stories they appear in. Ties are recorded once, as a type b — for example zeus parent athena — in nine kinds: parent, spouse, sibling, other kin, teacher, ally, rival, mount or animal, and avatar or aspect. Brothers and sisters are also worked out from shared parents.

The universe. Each tradition is a realm on a ring around the centre, with three levels: the heavens above, the human world in the middle, and the underworld or primeval deep below. Inside a realm, a simple force layout pulls connected figures together and pushes everyone else apart; in the Indian realm the Ramayana sits to one side and the Mahabharata to the other. Positions are fixed, so the map looks the same every visit. Lines are gentle arcs coloured by kind of tie.

The family tree. Generations are laid out in rows: grandparents, parents, the figure with siblings to the left and partners to the right, children under the partner they share, and grandchildren. Couples are joined by a line beneath them. Where a tradition names more than two parents — as the Mahabharata does for the Pandavas, with a human and a divine father — all are shown.

Tracing. “Trace” finds the shortest chain of recorded ties between two figures (a breadth-first search, where every tie counts as one step). Family ties are tried first, so equal-length chains prefer kinship. It shows a shortest chain, not every one.

Search ignores accents and case, knows other names (Woden for Odin, Inanna for Ishtar), and compares the consonant skeleton of a word, so Kṛṣṇa, Krsna and Krishna all match, as do small typos.

• A selection, not a full mythology. 162 figures and 48 episodes from vast traditions. Many important figures (Hera’s children by others, the Valkyries, Ptah, Nanna, Shatrughna, Vidura, Ganesha and many kami) are mentioned only in passing or left out.
• Myths have many versions. These traditions were told for centuries in many places. Where sources disagree — Aphrodite’s parents, Týr’s father, Anubis’s mother, Ishtar’s father — the atlas follows one main source and says so in a variant note. The relationships are a reading of the texts listed below, not the only correct one.
• Tie labels simplify. “Rival” covers a duel, a murder, a lifelong feud and a single quarrel. “Ally” covers friendship, devotion and a single favour. Notes on each tie give the detail.
• Story order is narrative order within a tradition, not historical dating. The Indian epics, Homer and the Kojiki were composed and written down over many centuries.
• Living traditions. The Hindu deities and heroes here, and the kami of Shinto, are worshipped by many people today. The atlas describes them as they appear in the epics and the Kojiki, in a neutral voice, and does not try to depict them. Emblems are symbols (a bow, a lotus, a mirror), never images of a god.
• Thematic parallels are curated comparisons. Similar stories in different places usually arose independently or through long, untraceable contact. The one real shared-origin claim noted is linguistic: the names Zeus, Dyaus and Jupiter.
• Names are given in common English spellings. Diacritics and other spellings are listed and searchable.
• The 3D layout is decorative geography: distances between figures mean nothing beyond “these are connected”.
• Illustrations. All 24 images are original artwork made for this atlas: 5 AI-generated paintings (Olympus, Yggdrasil, the sun’s barque, the weighing of the heart, Utnapishtim’s flood) and 19 scenes drawn in code. They are evocations, not reconstructions of ancient art, and they never show a deity’s face or body; people appear only as small silhouettes.

All descriptions and summaries are original. Notes and limits are in RESEARCH.md.